Bloodline. Episodes Eight, Nine, Ten, Eleven, Twelve and Thirteen. Some notes and dialogue on first watching with final review Part THREE at the end. Minor Spoilers Only. A Netflix Original.

Bloodline.  Episodes eight, nine, ten eleven twelve and thirteen and Part THREE final review

Episode Eight.

Some notes and dialogue on first watching.

As already mentioned: the opening sequence is pretty spectacular.  All in fast forward time.

Voice-over: (John)
“Terrible things happen to the family down the street,”
“And you think  thank God We’re not them”
“Then, one day you wake up and you’re one of them..”
And you’re never the same again..”

So what is Danny boy up to now then?  Think I’m gonna stop here for fear of getting too spoilery.  OK it definitely is the sea on both sides of the land. The bayous must be inland.

Oh dear. Lovely Marco doesn’t realise that Meg is a psychopath.  And then there’s Danny..

Danny to John:
“”VoilĂ , as they say in Calgary..”
So we start to realise what sort of man Danny is.
Danny to John:
“There was a moment…”
John to Danny:
“You’re a fucking arsehole”..

Some parts of Bloodline are a bit dull.  Which is good really.  This maybe deliberately dull.  Because the drab, deliberately dull perhaps parts in Bloodline balances out the rest.

So this is heavy.

The Detective story side of it is refreshing really compared to the rest of Bloodline.


Episode Nine.

Some notes and dialogue on first watching.

(musical notes in a bracket)We are at some strange flashback or future forward.  I don’t know.  Me I tend to think it is all a part of the flash-forward scene from the beginning.

John does a mean undercover Cop.
As mentioned, as horrible as the murder investigation is, it is light relief compared to the rest of Bloodline.

John to the Federal Agent:
“Go have a sunshiny day!”

Danny to John:
“Imagine that, huh, out on your own..”
John to Danny:
“I love you brother..”
(in his lovely Southern accent)

Here comes Kevin.  In the green light at night.  I like how he manges to make hoofing some tablets from a bottle look just the same as swigging from a bottle.

I just love those three crochets (or is it quavers) in a bracket.

Danny to Carlos:
“This has to go to..up on the way back Mile 94, pump number two”..
What.  Is.  He.  Up.  To.Oh.  I see.  Very smooth.

A great big fish is getting sliced up.  By Danny.
Now John and Maria’s daughter pops into see her Grandma.

Meanwhile, Sally (the Grandma) is gazing at a magazine of a beach wedding and gazing off into space.

Here comes the evil psychopath Meg.  Mind you if we are talking about evil psychopaths..

Maria to John:
“I called the cooking school..”

“Chaio, Joe”.

Then John’s fingers do some walking.  On the computer.

Danny and Meg.
“I’ll go..”
Slams a rock down on her desk..
he continues:
“But I can go further..”

Detective John is doing some investigating..

Meg to Kevin:
“Who told you to lie?”
“I don’t know, we just knew..”

Detective Potts:
“Can you ask Meg to come in..”

The reasons for what is happening start falling into place.

Landlord to John:
“This is your brother’s place, here..”
I am really liking John, Detective John’s solo investigative quest.

Oh no.  I’m getting a bad feeling about the Mom Sally’s secret.

Sally to Danny:
“I just packed my bags and took a bus, didn’t even tell my parents..”

Back to the blue flashback or forward.
A character cries on a bus.


Episode Ten.

Some notes and dialogue on first watching.

John: (voice-over)
“I’m almost at the end of the story and I then place my fate in your hands..”
he continues:
“As for my brother, people say he’s a monster,”
“he did terrible things,but I feel sorry for him,”
“he’s just got a rough deal..”
“I wish I knew what happened to him”
” what where he went,”
“but wherever he is,”
” I hope that he’s OK..and he knows I love him.”

Back to the present day and John is doing his Detective work.
Marco to John:
“Who’s he run with?”
John is upping is game in the interrogation.
John chuckles:
“You’re free to go…”
“But if you keep doing what you’re doing, you’re fucked!”

Ahah.  So the flashbacks that Sally sees are her.

Meanwhile the Police investigation continues. I like how the Police investigation takes place in the fluorescent blue lighting strips. In a green lit room as background.

Carlos and Meg.
“I feel blessed, really I do..”

So the poisonous worm continues to worm its evil way into one character in particular’s lives.
 Danny to his Mum:
“Yeah, those were the days Ma, it was just paradise for all of us..”

(crochets in brackets) Door creaking.  Floorboards creaking. Kevin is having nightmares.

Chloe Sevigny to Danny:
“I can’t be with you if you’re headed for trouble..”

Back to the green blue light of the Police Station.

Danny to Kevin:
“‘man, we’re Eskimo brothers!”

John in this truck in the tropical night.
“Fuck fuck fuck!”
He sees a vision in the back of the truck.
John lays his cards on the table.  Too early really. Way too early.

“It was a fucking shit storm bro..”

there are a lot of (musical notes in brackets)

Federal Agent:
“Suspect appears to be hot and on the move..”

Danny to John:
“You don’t know everything..I call the shots now..”
“We’ll see about that..”.

So now Meg is being a Detective.


Episode Eleven

Some notes and dialogue on first watching.

Nb.  Alec is the big guy.

“And you’ll drown before the water lets you in..”

Nb. Kyle Chandler plays John.

So its flashback time again.  We are getting nearer to the culmination of the flashback.  Presumably that will happen right at the end-episode twelve.

I am enjoying the character of John.  In all his rakish charming detective guises.

Danny to Eric Bannon:
“People think I got two brothers, they’re wrong, I only got one”!”..
Danny to Kevin:
“I apologise, from the bottom of my heart..”

Oh dear.
So what is John going to do now.

Scary man to Danny:
“A mile marker a hundred and one that’s a turn off to a warehouse.”

So the plot thickens, like, I don’t know, home made custard.
So one by one each sibling has proved themselves worthy of playing the game.

Uh oh. It’s those three crochets in a bracket again…

Vision to Danny:
“Maybe you should have just stayed focused, and done the work..”

Kevin to Belle:
“It’s all good.”

This is nerve wracking.  Not sure I can look.
However here comes the flashback.


Episode Thirteen.

Some notes and dialogue on first watching.

John as voice-over:
“Do you ever get that feeling that something is going to go wrong and you can’t stop it!”
“That it’s too late to do anything about..”
“It’s a feeling in the gut,”
“It won’t go away..”
“That’s the feeling I got when my brother came home..”

Four Days Later.
“Bla bla bla..”

Then: back to the crucial scene.
John picks up a ringing mobile phone.
(ringing stops)
One character is having really rather a bad time of it.  Well two you could say.
C’mon Meg.  Psychopaths come in handy.

(three quavers) and a lovely sunrise on an equally lovely long bridge.  Momentarily reminiscent of  the series The Bridge.  The bridge connects the Islamorado Hotel area and the Key Largo place with the hospital.

Meg is driving.  Then. Thump.  Thump..

Things are seriously full on proper horror story now.  The State Trooper is super-sinister. Mind you State Troopers always are in films.  It’s like a thing.

And the rain is falling.  The rains have come.  As we knew they would.  Especially as this is the future flash forward is meeting itself from the beginning episode.

Sally to John:
“I know you’re keeping things from me..”

John to his Mom:
“I can’t help him any more”..

I’m liking all the multiple scenes that take place inside the two fronts seats of cars.  In the rain.  In the pouring rain.  In the blue green night and afternoon.  With the green trailing fronds of the palm trees hanging.

I like how the family work together when needed.

Some serious horror stories that have been going on in a parallel fashion coalesce and become one big one.  Horror story that is.  The crickets continue to chirp in the background.  The kettle whistles.

“Make sure he wears his suit, his seersucker suit”.
Meg to Sally:
“Do you have it?”
“I’ll tell him to wear it.”

So we come to the Rayburn family pier dedication, that was meant to be in the first episode…

So now comes the day.  The men are all in the seersucker suits.
Back the the triple crochets.
And the rain.
(thunder rumbling)

More fanstasmagorical blue green scenes.  Then the scene cuts.  We don’t get to see.  We have to fill in the flash-forward.

I have been worrying that one character may have turned into another character.

“I always thought  the greatest thing I knew was being born a Rayburn,”
“Sometimes you know you know something’s coming,
“and I’m not the same man now,”
“In a way it wasn’t just him I was trying to save, I was trying to save myself..”

John continues:
“I wish I knew what happened  to him,”
“but wherever he is,I hope he’s OK,”
 “and wherever he is, he knows that I love him..”

I am still waiting for the surprise.

Blue washed scene in the rain.  Blue and white soaked seersucker suits.

Three crochets in a bracket)

Uh oh.  It’s looking like there might be another series. John in the car again  With his large head filling the screen..
Then.  Things get heartbreaking.  In a heartbreaking scene.

Back in the green Police station room.
We have some gaps filled in for us.

John has an ever innocent face.
However I have always wondered about Marco. He always looked like he was way ahead of the game to me..

Four months later.
OK- so things are jolly and happy now.. Which makes me dramatically wonder.  What is about to happen if anything.


Final Review of Bloodline Part THREE

So I thought Bloodline was really pretty much excellent.  A good, meaty chunky thirteen episodes long.  Soon departing from my initial reticence about watching more than two episodes at once: I went on to watch three episodes a session/ go several times.

The initial dreadful miasma of dread was dissipated somewhat.  By the ongoing day to day life of the characters.  Their pedestrian duties and doings.

Sissy Spacek as Sally- with her spaced out interludes and other-worldliness are dramatic devices that have the effect of slowing time somewhat.  In a relaxed  fashion.  Although interlacings of suspense inexorably continuing both backwards and forwards.  To meet, eventually we know, in the middle. And show us the actual happening.  Or two.

I feel that I have already written so much about Bloodline in the thirteen episodes.  Their descriptions so to speak.  As time and number of episodes went on I reduced the size of the notes.  Telling myself a few times- I’ll stop now.  It’s getting too spoiler-ish.  Or could do. I might only think that because I’m watching it however.

Most of all I was thinking want I really want to do is kick back and transport metaphorically into the sun gleaming and eye aching beaches of the Florida Keys.  Glory in the downpours on the tropical green forest.  Those odd interludes of blue and green windows washed with rain.  Watched from the outside looking in.  On John.  who is inside looking out.

Then there is the colouration if that’s a word, of the flashbacks and future forward scenes.  Different and fantastical each one.

Then there are the clean and crisp interiors of the kitchens, the family house.  John’s house on stilts in a forest.

John’s enviable array of classic crisply laundered chinos and bleached blue shirts.  Big, tall, polite, true blue John with that lovely Southern accent.  He might even have said Ma’am.

He, John, is the classical clean cut hero of horror thriller mysteries.  Since time immemorial.  Or Togas I guess.  However you could imagine John as a Roman Policeman/ Detective just the same.

John is the honest Cop, he is Sheriff of the town.  We know he has principles. He keeps the peace by diplomacy and Detective work.  Everything in his life is rosy.

John, Detective and Sheriff of the town has a wonderful family.  He also has his Mum and Dad,  Sally and Robert nearby.  At Islamorada, the Rayburn family hotel.  Robert, as first mentioned, goes kayaaking daily around the bluff.  (and back) Meg is minorly happy we cannot truly tell.

Kevin bumbles along.  Seemingly casual and carefree when really he is sleeping in a boat shed.  With a broken windowpane.  diamond shaped.  Through which we see him at interludes through the night. Slumped over on a desk all awash in green lemon light.

Bloodline is  full of painterly scenes such as these.  On consideration there are also a lot of close-ups. In old fashioned Hollywood style. Indeed some of the wicker furniture is a sea-faring almost forties- era Caribbean style.  White wicker.  There are giant glass bulbed lampshades with Sailor’s rope handiwork covers of macramĂ© rope.

We do focus a great deal of time on individual characters and their close-up face taking up a great deal of the screen.

As especially John’s face and head do in  the rain washed window scenes.

Really I cannot recall more than a few interiors and outside scenes.  Though there are rightfully perhaps, bounteous scenes of the sea.  Because when one lives by the sea, you eyes are naturally drawn to the sea as your scenery.

For the rest, Bloodline on these considerations depended very much on/ upon the individual performances of the characters.  who played the members of the family.  The actors and actresses were all effective I felt, at showing their emotions or possible machinations on their face.  Along with the dialogue.

The dialogue of course not always matching up, to our view.  with their inner feelings as portrayed on their face.  Or not.  John had an excellent dead pan.  So did Meg come to think of it.  Then so did Kevin who  could certainly surprise.

If the siblings: John, Meg and Kevin didn’t have this game going on in the beginning of the story well then they sure grew some game along the way.

Then there is Danny.  A towering performance really of his character in all its idiosyncrasies, likeabilities and inconsistencies.

So things start to change where Danny gets back.  To Islamorado.  My initial description of perceptions shifting  from good to bad.  For that character or characters: would shift and swap again. And again.

All of the acting was excellent as were the individual story-lines and ensemble scenes.  With the family, the siblings together, separate and alone.

Sissy Spacek in a completely convincing performance of the seasoned hotel owner is also a master of deadpan.  Spaced out though she may sometime seem.  That’s those multifarious flashbacks.

Yet in the final scene Sally’s eyes sparkle perspicaciously at the equally incisive and intelligent Detective Potts.  Retired.
“So what did you find out for me?”
(Private Investigator) Potts:
He continues:
“I can tell you one thing, your children are all lying to you…”


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